ASC American Cinematographer Magazine

December 2024

Joker, Anora, SNL & more!!

 

 

 

ASC American Cinematographer Magazine

December 2024

Joker, Anora, SNL, Panavision & more!!

+ much much more

 

 
The December 2024 issue presents a special focus on visual effects, including coverage of Here and a profile of groundbreaking visual-effects artist Dennis Muren, ASC — as well as a discussion within the Joker: Folie à Deux cover story on the incorporation of LED-wall-volume work. The issue also features reportage on Saturday Night and Anora, and respective tributes to Panavision’s 70th anniversary and OConnor’s 75th.

 
·     President’s Desk: Shelly Johnson, ASC reflects on the tactile and magical qualities of film.

·     Lawrence Sher, ASC and director Todd Phillips detail their approach to Joker: Folie à Deux, which included using a telescopic crane and tight communication to achieve sweeping camera moves, and combining multiple setups — including an LED-wall volume — to yield a long, unbroken take.

·     Eric Steelberg, ASC and director Jason Reitman discuss creating carefully choreographed mayhem for Saturday Night — and how shooting Super 16mm contributed to the spontaneous feel.

·     Cinematographer Drew Daniels shares his strategy for shooting the Palme d’Or-winning romance Anora, directed by Sean Baker.  

·     Panavision executives/ASC associate members Kim Snyder, Michael George, David Dodson and Dan Sasaki discuss the company’s ongoing evolution as it marks its 70th anniversary.

·     Nine-time Academy Award winner Dennis Muren, ASC reflects on a career defined by seismic changes in the field of visual effects — and explains why a filmmaker’s vision is more important than their tools.

·     The Virtual World: Visual-effects supervisors Kevin Baillie and Jo Plaete and virtual-production supervisor Callum Macmillan discuss AI techniques and other technologies deployed on Here, directed by Robert Zemeckis and shot by Don Burgess, ASC.

·     New Products and Services includes a special piece commemorating OConnor’s 75th anniversary.

·     Wrap Shot: West Side Story (1961), shot by Daniel L. Fapp, ASC and directed by Robert Wise and Jerome Robbins.

 

 


From the Publisher:

American Cinematographer is the world’s leading journal on motion-imaging techniques, with a special focus on the entertainment industry’s most innovative and talented directors of photography. The magazine serves filmmakers by exploring cinematographers' artistic thought processes and explaining the technical means by which they realize a creative vision.

In addition, our editorial seeks to keep readers abreast of advancements in all facets of motion-imaging technology — the tools cinematographers use to ply their trade — and inform them of visually extraordinary productions, including feature films, television shows, commercials and music videos.

 

 

 

 

Normal 0 false false false EN-US X-NONE X-NONE ASC American Cinematographer Magazine December 2024 Joker, Anora, SNL, Panavision & more!! + much much more The December 2024 issue presents a special focus on visual effects, including coverage of Here and a profile of groundbreaking visual-effects artist Dennis Muren, ASC — as well as a discussion within the Joker: Folie à Deux cover story on the incorporation of LED-wall-volume work. The issue also features reportage on Saturday Night and Anora, and respective tributes to Panavision’s 70th anniversary and OConnor’s 75th. · President’s Desk: Shelly Johnson, ASC reflects on the tactile and magical qualities of film. · Lawrence Sher, ASC and director Todd Phillips detail their approach to Joker: Folie à Deux, which included using a telescopic crane and tight communication to achieve sweeping camera moves, and combining multiple setups — including an LED-wall volume — to yield a long, unbroken take. · Eric Steelberg, ASC and director Jason Reitman discuss creating carefully choreographed mayhem for Saturday Night — and how shooting Super 16mm contributed to the spontaneous feel. · Cinematographer Drew Daniels shares his strategy for shooting the Palme d’Or-winning romance Anora, directed by Sean Baker. · Panavision executives/ASC associate members Kim Snyder, Michael George, David Dodson and Dan Sasaki discuss the company’s ongoing evolution as it marks its 70th anniversary. · Nine-time Academy Award winner Dennis Muren, ASC reflects on a career defined by seismic changes in the field of visual effects — and explains why a filmmaker’s vision is more important than their tools. · The Virtual World: Visual-effects supervisors Kevin Baillie and Jo Plaete and virtual-production supervisor Callum Macmillan discuss AI techniques and other technologies deployed on Here, directed by Robert Zemeckis and shot by Don Burgess, ASC. · New Products and Services includes a special piece commemorating OConnor’s 75th anniversary. · Wrap Shot: West Side Story (1961), shot by Daniel L. Fapp, ASC and directed by Robert Wise and Jerome Robbins. From the Publisher: American Cinematographer is the world’s leading journal on motion-imaging techniques, with a special focus on the entertainment industry’s most innovative and talented directors of photography. The magazine serves filmmakers by exploring cinematographers' artistic thought processes and explaining the technical means by which they realize a creative vision. In addition, our editorial seeks to keep readers abreast of advancements in all facets of motion-imaging technology — the tools cinematographers use to ply their trade — and inform them of visually extraordinary productions, including feature films, television shows, commercials and music videos.

ASC American Cinematographer Magazine

December 2024

Joker, Anora, SNL & more!!

 

 

 

ASC American Cinematographer Magazine

December 2024

Joker, Anora, SNL, Panavision & more!!

+ much much more

 

 
The December 2024 issue presents a special focus on visual effects, including coverage of Here and a profile of groundbreaking visual-effects artist Dennis Muren, ASC — as well as a discussion within the Joker: Folie à Deux cover story on the incorporation of LED-wall-volume work. The issue also features reportage on Saturday Night and Anora, and respective tributes to Panavision’s 70th anniversary and OConnor’s 75th.

 
·     President’s Desk: Shelly Johnson, ASC reflects on the tactile and magical qualities of film.

·     Lawrence Sher, ASC and director Todd Phillips detail their approach to Joker: Folie à Deux, which included using a telescopic crane and tight communication to achieve sweeping camera moves, and combining multiple setups — including an LED-wall volume — to yield a long, unbroken take.

·     Eric Steelberg, ASC and director Jason Reitman discuss creating carefully choreographed mayhem for Saturday Night — and how shooting Super 16mm contributed to the spontaneous feel.

·     Cinematographer Drew Daniels shares his strategy for shooting the Palme d’Or-winning romance Anora, directed by Sean Baker.  

·     Panavision executives/ASC associate members Kim Snyder, Michael George, David Dodson and Dan Sasaki discuss the company’s ongoing evolution as it marks its 70th anniversary.

·     Nine-time Academy Award winner Dennis Muren, ASC reflects on a career defined by seismic changes in the field of visual effects — and explains why a filmmaker’s vision is more important than their tools.

·     The Virtual World: Visual-effects supervisors Kevin Baillie and Jo Plaete and virtual-production supervisor Callum Macmillan discuss AI techniques and other technologies deployed on Here, directed by Robert Zemeckis and shot by Don Burgess, ASC.

·     New Products and Services includes a special piece commemorating OConnor’s 75th anniversary.

·     Wrap Shot: West Side Story (1961), shot by Daniel L. Fapp, ASC and directed by Robert Wise and Jerome Robbins.

 

 


From the Publisher:

American Cinematographer is the world’s leading journal on motion-imaging techniques, with a special focus on the entertainment industry’s most innovative and talented directors of photography. The magazine serves filmmakers by exploring cinematographers' artistic thought processes and explaining the technical means by which they realize a creative vision.

In addition, our editorial seeks to keep readers abreast of advancements in all facets of motion-imaging technology — the tools cinematographers use to ply their trade — and inform them of visually extraordinary productions, including feature films, television shows, commercials and music videos.